Archive for the ‘Reviews’ Category
Wednesday, July 13th, 2022
NEPTUNE FROST is a new sci-fi movie, though not the type anybody would picture when I say that word. It takes place in what must be the near future, with technology and civilization extrapolated from and commenting on the present. It has world-building, colorfully named characters (Memory, Innocent, Psychology), futuristic lingo, a rebellion. But it’s very much an art movie, its imagery more based in theater and video art than FX, and also it’s a musical. Its story is more mythical, surreal and allegorical than traditionally cinematic. The narrator, Neptune, acknowledges this upfront when she says, “Maybe you’re asking yourself WTF is this? Is it a poet’s idea of a dream?” So it’s not surprising that its growing cult success has come through a carefully coordinated limited release.
It’s set in Rwanda, and begins in a coltan mine. Skinny men in the sun chipping at rock with various tools, harvesting ore for capacitors used in phones and computers they mostly can’t afford. One miner named Tekno finds a big piece of coltan (I thought it was a fossil), becomes enamored with it and holds it aloft. An overseer yells at him to keep working, and hits him in the head. He falls over, to the horror of his brother Matalusa (Bertrand Ninteretse), and dies. The others are upset but forced to return to work. They drum and chant and create a beat with their work. (read the rest of this shit…)
Tags: afro-futurism, Anisia Uzeyman, cyberpunk, Rwanda, Saul Williams
Posted in Reviews, Musical, Science Fiction and Space Shit | 5 Comments »
Monday, July 11th, 2022
“It’s the so-called normal guys who always let you down. Sickos never scare me. At least they’re committed.” —Selina Kyle
“He had graduated to a point where he wanted to make movies that are his movies. And this is one hundred percent Tim’s movie.” —BATMAN RETURNS producer Denise DeNovi
On June 19, 1992 we got a blockbuster super hero movie unlike we’d seen before or have since. Since Tim Burton’s BATMAN RETURNS was about as much of a sure thing hit as a studio could ever have, and because the director had been unsure about doing another one, Warner Brothers left him alone to do what he wanted. So it’s a rare combination: an expensive summer blockbuster based on pop culture icons, but also an odd, personal film by an earnest visualist director without much interest in crowdpleasing spectacle. Okay, maybe that describes 1990’s DICK TRACY also, but this is DICK TRACY’s much freakier second cousin. As the first sequel to the movie that made comic book adaptations a hot commodity it was in a unique position to make up most of its own rules about what a super hero sequel is supposed to be, and it wasn’t timid about it.
I’ve written before about my love for the era of comic book movies that started with BATMAN and ended around BLADE or X-MEN. Since the medium that inspired them was still considered nerd shit, since digital FX were in their infancy, since most of them never worried about setting up a sequel let alone a cinematic universe, and since most were heavily influenced by what Tim Burton had done in BATMAN, the genre was very different from what it is today. There was far less literal fidelity to the source material (for good and bad), and relatively few attempts to depict extravagant super powers and creatures, meaning less falling back on visual effects sequences. Some tried to reimagine a pulpy past (THE ROCKETEER, THE SHADOW, THE PHANTOM, DICK TRACY), while the ones trying to be new and contemporary often celebrated colorful outsiders and weirdos (THE CROW, THE MASK, BARB WIRE, TANK GIRL, X-MEN). And I think my favorite thing about them is that they didn’t usually take place in “the real world.” They depended on a stylized look with big sets on sound stages, matte paintings and miniatures to create their own heightened reality. (read the rest of this shit…)
Tags: Anthony De Longis, Christmas, Christopher Walken, Cristi Conaway, Daniel Waters, Danny DeVito, Danny Elfman, DC Comics, Denise DeNovi, Diane Salinger, great sequels, Jan Hooks, Joan Giammarco, Michael Gough, Michael Keaton, Michael Murphy, Michelle Pfeiffer, Pat Hingle, Paul Reubens, Sam Hamm, Steve Witting, Tim Burton, weird sequels, Wesley Strick
Posted in Reviews | 111 Comments »
Thursday, July 7th, 2022
MEMORY is not the best movie we will see from star Liam Neeson or director Martin Campbell (DEFENSELESS, GOLDENEYE, THE MASK OF ZORRO, CASINO ROYALE, THE FOREIGNER), but I think it’s an interesting one. It’s a grim thriller about a contract killer who realizes he’s starting to get dementia and tries to go after some bad people before his mind is gone. That’s pretty similar to the premise of Paul Schrader’s disowned (but I kind of liked it) 2014 film DYING OF THE LIGHT, but it’s actually a remake of the 2003 Belgian film DE ZAAK ALZHEIMER (THE ALZHEIMER CASE), itself based on a 1985 novel by Jef Geeraerts.
It starts with Alex Lewis (Neeson, KRULL) on the job. He enters a hospital in scrubs and we know he’s not a regular nurse by his complete non-reaction to some asshole nearly running him over in the parking garage. It turns out that’s his target, some jerk visiting his mother. We see just enough of of the guy to imagine he might deserve this fate, but also enough of his mother’s terror behind her oxygen mask to think “Man, that’s fucked up.”
As Alex is making his escape he reaches for the keys behind the mirror, and takes a bit to remember they’re in his pocket. Not a big deal, except if you’re a total pro and never make mistakes like that. Can’t make mistakes like that. (read the rest of this shit…)
Tags: Alzheimer's, Antonio Jaramillo, Daniel de Bourg, Dario Scardapane, Guy Pearce, Harold Torres, Liam Neeson, Louis Mandylor, Martin Campbell, Mia Sanchez, Monica Bellucci, Ray Stevenson, Scot Williams, Taj Atwal
Posted in Action, Crime, Reviews, Thriller | 13 Comments »
Wednesday, July 6th, 2022
THE PRINCESS is a new straight-to-Hulu movie with a simple concept. At its center is a Disney-type story of a medieval princess who wants to find her own destiny and not be forced to marry somebody for political reasons, but it’s done as a violent martial arts movie with a DIE HARD type premise. The Princess (Joey King, WHITE HOUSE DOWN) wakes up, having been drugged, in a Rapunzel type tower. She doesn’t have long hair, but she does know how to fight, so she battles to the death with the guys guarding her and sneaks around the castle picking off enemies McClane/Ryback style while plotting how to save her family, who she sees threatened at swordpoint in the plaza below.
In flashbacks we learn that due to a lack of male heirs The King (Ed Stoppard, JUDY) was gonna let this motherfucker Julius (Dominic Cooper, WARCRAFT) marry the young princess. She almost went through with it “for the good of the kingdom” or whatever, but backed out at the last minute, and now this hostage situation is how Julius plans to change her mind. Great guy. (read the rest of this shit…)
Tags: Alex Reid, Clayton J. Barber, Dominic Cooper, Ed Stoppard, Hulu, Kefi Abrikh, Kristofer Kamiyasu, Le-Van Kiet, Olga Kurylenko, Veronic Ngo
Posted in Action, Fantasy/Swords, Reviews | 20 Comments »
Monday, July 4th, 2022
Any musician biopic, pretty much, is gonna be a legend or a tall tale. What’s great about Baz Luhrmann directing one is that his entire style leans into that. Condensing a whole life and career into an entertaining 2 1/2 hours requires shortcuts, cheats and artistic license that prevent it from being literally true, so here we have a director whose work is rarely about the literal truth anyway. It’s more about how something feels and looks and sounds, or making it look and sound like it feels. Biopics depend on montages to move quickly across time, and this guy speaks fluent montage. He’s also a director whose films have generally been on the verge of being jukebox musicals (going all the way in the case of MOULIN ROUGE!). So what could be more perfect for him than an Elvis Presley biopic?
ELVIS is absolutely presented as a legend, one told by Presley’s long time manager, Colonel Tom Parker (Tom Hanks, DRAGNET), who admits “there are some who’d make me out to be the villain of this here story,” and in between his justifications does come off as something of an evil mastermind. He addresses us decades after Elvis has passed, when he’s on his own death bed in a Las Vegas hospital room with a view of Star Trek: The Experience (1998-2008), but in his mind he’s also dragging his I.V. drip around an empty casino. (read the rest of this shit…)
Tags: Alton Mason, Austin Butler, Baz Luhrmann, David Wenham, Elvis, Elvis Presley, Kelvin Harrison Jr., Kodi Smit-Mcphee, Las Vegas, Luke Bracey, Mandy Walker, Nelson George, Olivia DeJonge, Shonka Dukureh, Tom Hanks, Xavier Samuel
Posted in Reviews | 50 Comments »
Thursday, June 30th, 2022
“Eh, waxworks are out of date. This is the video age.”
WAXWORK (1988) is an American movie, but it’s the debut of English writer/director Anthony Hickox, the son of legendary editor Anne V. Coates (LAWRENCE OF ARABIA, OUT OF SIGHT) and director Douglas Hickox (who directed one of my favorite Vincent Prince movies, THEATRE OF BLOOD).
My first association for the younger Hickox is always HELLRAISER III: HELL ON EARTH, but WAXWORK is what put him on the horror/cult movie map. A very small, light dot on the map, but it’s on there if you squint. WAXWORK is not quite an anthology, but it’s an odd mix of different types of movies, using the characters in a wax museum as excuses to visit different dated horror subgenres.
College students China (Michelle Johnson, BEAKS: THE MOVIE) and Sarah (Deborah Foreman, REAL GENIUS) notice a wax museum in a residential area (“Kind of a weird place to have a waxwork” – I like how this movie acts like “waxwork” is a totally normal word everybody knows and uses casually.) A strange man (David Warner, TRON) appears and invites them to return at midnight with no more than six people for “a private showing.” So they convinced their friends Gemma (Clare Carey, ZOMBIE HIGH), James (Eric Brown, Mama’s Family), Tony (Dana Ashbrook, RETURN OF THE LIVING DEAD PART II) and Mark (Zach Galligan, who had only done GREMLINS and NOTHING LASTS FOREVER) to come with them. (read the rest of this shit…)
Tags: Alexander Godunov, Anthony Hickox, Bob Keen, Bruce Campbell, Candi, Clare Carey, Dana Ashbrook, David Warner, Deborah Foreman, Drew Barrymore, end credits rap, Eric Brown, George "Buck" Fowler, Irene Olga Lopez, Jack David Walker, Jack Eiseman, Jennifer Bassey, John Rhys-Davies, Michelle Johnson, Mihaly "Michu" Meszaros, Miles O'Keeffe, Monika Schnarre, Patrick Macnee, Tom MacGreevey, Zach Galligan
Posted in Horror, Reviews | 23 Comments »
Wednesday, June 29th, 2022
On June 3, 1992, historians will tell you, Bill Clinton played saxophone on The Arsenio Hall Show. Arsenio made his usual big entrance, and sitting in with his house band The Posse was the former Arkansas governor, then presidential candidate, wearing sunglasses, taking a solo on “Heartbreak Hotel” and later “God Bless the Child.” Whatever you think of his playing (or politics, or whatever), Clinton’s willingness to campaign outside of the accepted outlets and methods may have helped end 12 shitty years of Republican rule.
Have you considered, though, that a more important factor might’ve been STEPFATHER 3, which premiered on HBO the very next day, June 4, 1992? Maybe its trashy mockery of phony Reaganite assholes gave the pendulum that extra push it needed. And by maybe I mean definitely, I bet. Citation needed.
Part 3 is from yet another set of filmmakers – writer/director Guy Magar (a veteran of TV shows like The Powers of Matthew Star, The A-Team and Hardcastle and McCormick) and co-writer Marc B. Ray (Lidsville, New Zoo Revue, SCREAM BLOODY MURDER, Kids Incorporated) – but this time Terry O’Quinn did not return. Accordingly, there is an escalation in tawdriness. It’s supposed to be the same character, but now he’s played a little more broadly by Robert Wightman (AMERICAN GIGOLO), the guy who took over as John-Boy for the last two seasons of The Waltons. That’s a reference I remember people making when I was a kid but honestly I never saw the show to verify my hunch that it’s pretty good stunt casting to have him play this corrupted version of a family sitcom character. (read the rest of this shit…)
Tags: Adam Ryen, David Tom, Dennis Paladino, Guy Magar, Jay Acovone, John Ingle, made-for-cable-movies, Marc B. Ray, Mario Roccuzzo, Priscilla Barnes, Robert Wightman, Season Hubley, slashers
Posted in Horror, Reviews | 9 Comments »
Tuesday, June 28th, 2022
“You will NEVER find a better family man than me, Pumpkin!”
This is a flashback within my current retrospective series. STEPFATHER II: MAKE ROOM FOR DADDY was a theatrical release in November of ’89 that got itself a made-for-cable sequel in ’92. I reviewed the original THE STEPFATHER way back in 2005, but I hadn’t revisited part II since around the time it came out on video, so I thought I should do that before part 3.
THE STEPFATHER is (like POISON IVY) the template for about forty thousand made-for-cable domestic suspense thrillers, but it’s a damn good movie. Terry O’Quinn (SILVER BULLET) is outstandingly creepy as the family values loving psycho who serially creates new identities, marries suburban single mothers, loses his shit when life isn’t perfect, massacres the family and starts over.
This first sequel comes from different filmmakers. It’s actually the first sequel by director Jeff Burr (FROM A WHISPER TO A SCREAM), who would go on to direct LEATHERFACE: THE TEXAS CHAINSAW MASSACRE III, PUPPET MASTER 4 and 5, and PUMPKINHEAD II: BLOOD WINGS. It’s produced by Darin Scott (who later produced TO SLEEP WITH ANGER, FEAR OF A BLACK HAT, MENACE II SOCIETY and TALES FROM THE HOOD) and written by John Auerbach (sound editor on Jim Jarmusch’s STRANGER THAN PARADISE and DOWN BY LAW?). (read the rest of this shit…)
Tags: Bob Eubanks, Caroline Williams, Darin Scott, Doug Campbell, Jeff Burr, John Auerbach, Jonathan Brandis, Meg Foster, Pasquale Buba, slashers, Terry O'Quinn
Posted in Horror, Reviews | 2 Comments »
Monday, June 27th, 2022
(beware The Spoiler)
THE BLACK PHONE is a solid, straight forward horror tale set in a Denver suburb in 1979, when a succession of boys have gone missing. Locals blame it on someone they call “The Grabber.” The story centers on a kid named Finney (Mason Thames, young Walker in the new version of Walker: Texas Ranger), who’s either in middle school or high school (definitely pre-driver’s license age).
His life is not the easiest, but he gets by. He and his sister Gwen (Madeleine McGraw, AMERICAN SNIPER) have to walk on egg shells around their alcoholic father (Jeremy Davies, punk rock Toyota commercial) as well as various bullies closer to their own age. On Fridays Gwen sleeps over at a friend’s and Finney “takes care of” Dad – tucking him in and watching Emergency! by himself.
It’s a pretty tight movie, but I appreciate that it doesn’t rush the section where it establishes Finney’s daily life and the ominous mood of the place and time. One day there’s a fight outside of school, some big creep named Moose (J. Gaven Wilde, HALLOWEEN KILLS) calling a smaller kid named Robin (Miguel Cazarez Mora) a slur and taking a swing at him, at which point we learn that Robin is some kind of junior high Billy Jack who this kid absolutely should not have fucked with. Finney doesn’t know how to do that when he gets chased into the restroom by three dickheads, so it’s a relief when Robin walks in. Turns out they’re friends, though I get the sense it’s one of those friendships where one (Finney) is in awe of the other and feels surprised and lucky the guy even talks to him. (read the rest of this shit…)
Tags: based on a short story, Blumhouse, C. Robert Cargill, E. Roger Mitchell, Ethan Hawke, J. Gaven Wilde, James Ransome, Jeremy Davies, Joe Hill, Madeleine McGraw, Mark Korven, Mason Thames, Miguel Cazarez Mora, Scott Derrickson, Troy Rudeseal
Posted in Horror, Reviews | 25 Comments »
Friday, June 24th, 2022
SISTER ACT was released on May 29, 1992 and is of course the Golden Globe nominated feel-good fish-out-of-water comedy smash hit starring Whoopi Goldberg (last seen in THE PLAYER) as a lounge singer who witnesses a murder is put into witness protection pretending to be a nun in a convent and then ends up leading and reworking their choir. It’s not the type of movie I usually review, and I don’t really know how to dig as deep into it as I do on some of these, but I want to write about it if only to make this point: this, the most mainstream middle-of-the-road normal movie in this summer of ’92 retrospective so far, has kind of the same story as the (no pun intended) most alienating one, ALIEN 3, which came out the week before.
Think about it. Deloris is trying to escape from an unpleasant situation (dating mobster Vince LaRocca [Harvey Keitel in the same year as RESERVOIR DOGS and BAD LIEUTENANT]) when catastrophe forces her to seek shelter and live primitively within a tight knit community of same-gendered (female in this case) devout Christians. She’s made to look like them (wearing a nun’s habit rather than having her head shaven) and is unwelcome to some, particularly the person in charge (the Reverend Mother [Maggie Smith between HOOK and THE SECRET GARDEN] rather than the warden). But she ends up using her unique skills to lead them all in accomplishing the seemingly impossible (in this case making their choir sing well rather than killing a xenomorph without weapons). (read the rest of this shit…)
Tags: Adam Greenberg, Bill Nun, Carrie Fisher, Emile Ardolino, Harvey Keitel, Kathy Najimy, Maggie Smith, Nancy Meyers, Paul Rudnick, Reno, Robert Harling, Wendy Makkena, Whoopi Goldberg
Posted in Comedy/Laffs, Reviews | 14 Comments »
